• Artists: Lithuanian Chamber Orchestra, Saulius Sondeckis

Symphony (Overture) No. 32 in G major, K. 318 has two peculiar features - it represents the single sample of the one-movement symphonic cycle in the mature period of Mozart's activities, and it was probably his single work for large orchestra, which has been printed during his life. Like a Terzetto, K. 480 "Mandina amabile", this overture was destined for the Franchesco Bianchi's opera "Villanella rapita"(according to the title page) . But this work was at the first time on stage in Vienna only in 1783, whereas the score is dated by April, 26th, 1779. Some musicologists (Einstein) think, that the overture was written for the "Zaide", an unfinished German Singspiel in the French style, some others (Jahn, Deithers) count this work as an introduction to other Mozart's scenic work - "Thamos". But both works have proper introductions, and in both cases the reasons, why Mozart refused to include this music into the mentioned works, are unknown.

The three-part form of Italian overture (slow-fast-slow) contains the themes of the different character - brilliant and vital, lyrical and sensible. In the style of the work one can see the influences of Mannheim and Paris, softly developed in Mozart's individual manner. Orchestra counts the full wind group (without clarinets), trombones, two pairs of horns (in the different scales), timpani (added to the score by unknown hand) and strings. The solemn and vivid sequence of the Allegro spiritoso themes - heroic main one, gracious side theme and the concluding theme with its "Mannheim" crescendo changes the new lyrical melody, which opens the development section. After the polyphonic passage the movement stops suddenly: then comes Andante in the pastoral mood. The mirror-like recapitulation (the themes are following in the reverse sequence) crowns this unique symphony.

Symphony in D major, so-called "Haffners" was written in Vienna in July and August 1782. This Mozart's masterpiece was commissioned by Siegmund Haffners for his home festival, probably for the occasion of nobilitation of his master, taking place in July 29th, 1782. At the beginning the symphony was shaped as an old Serenade form, - it began with the introduction March and had two minuets. When Mozart played it for the second time in his Viennese Academy, on March 3rd, 1783, he throw out two parts (second Minuet probably is missed, the March appears as K. 385a (408, No. 2), and added the clarinets and flutes to the score. The orchestra includes also two oboes, two horns, two trumpets, timpani and strings. Symphony has four movements. The initial Allegro con spirito in Sonata form begins with the first theme, sounding solemn, energetic and elastic - it determines the emotional atmosphere of the whole movement.

The side and concluding parts add new features to the main image, their motives organize the texture of development section, and repeat newly in the slightly diminished recapitulation. The polyphonic thinking is shown here especially radiantly - it was the time, when Mozart discovered for himself this type of musical approach, arranging Bach's works and composing such polyphonic masterpieces, as the last movement of String Quartet in G major dedicated to Haydn. Lyrical and noble narration, as the main idea of second movement, Andante (in sonatina-like form) is underlined by chamber character of its fitting and orchestration. The third movement - traditional Minuet in da capo form, is filled with youth audacity, while the orchestral colors and themes in this part are picturesque and somewhat rustic. "The first Allegro must be played with the real fire. - The last - as fast as possible", - proposed Mozart to the performers of this Symphony. The last movement in rondo form begins with the silent unison of strings, which returns with each repeating of refrain theme. It makes the wonderful effect of semi-shadowed contrast to the main, festival and brilliant mood, which prevails in flamboyant Finale and culminates in the fiery Coda.

Symphony in C major was composed on November 3rd, 1783 in Linz - and this is the source of the common reference to it as "Linzer" Symphony. Traveling with his wife from Salzburg to Vienna, Mozart was accommodated by the "old earl Thun" in Linz. "On Thursday, November, 4th, I'll give my own academy here in the theatre, and while I don't have any symphony with me, I'm working very hard, writing the new one, and it should be ready until that time", - wrote Mozart on October 31st. One could hear the remaining influences of Haydn style in this work, but the special, transparent lyricism speaks to us about the inimitable individuality of its author.

The first part begins with the slow, solemn introduction. After the beginning tutti fanfares we hear the contrasting continuation - the innermost and sincere music, time to time exploding by forte fragments. Introduction is not large, it changes soon to the Allegro. All themes of Allegro have similar character - vivid and energetic, combining the lyrical warmth with the energy and rapidness. The short development section brings no essential contrast to the music and leads to the ordinary for the sonata form recapitulation.

Second movement, Poco adagio, is written in the character of siciliana, and its rhythm fills both of the themes. The third movement is the minuet, - its music leaves no frames of the common mood of this symphony. The final movement is the most complicated and significant part of the work. Here, in this final Presto we can be led to believe in the existence of deeply implanted connection between Mozart's symphonic and operatic styles. This movement sounds like concluding scene of the comic opera, where all characters appear before listener's eyes: each one is marked by its personal features, and they all are united by the common plot and their happy ending.

Fedor Sofronov